Logic’s new DeEsser 2 is a frequency specific compressor, designed to compress a particular frequency range within a complex audio signal. What makes this update so special is the addition of the new “relative” threshold mode.
n this short video, I share two (well, three actually) handy automation workflow tips that will help simplify routine tasks. They’re simple. Committing them to memory is the hard part.
Follow along in this video as I capture the feel of an apple loop and then apply it to a MIDI bass part. And then vice versa. I’ll show you how to take the timing and feel of the MIDI performance, and apply that to the Apple Loop.
We all have different ways of programming drum parts into Logic. Some are real time, and some are non-real time mouse based workflows. I prefer playing in my parts rather than mousing them in. In this video, I’m going to look at a couple of ways I like to work in the Tracks Area. You don’t have to be a great finger drummer to accomplish this. Logic gives us plenty of tools to simplify the drum part entry process.
Every DAW has built in EQ plug-ins, and Logic offers many. The Channel EQ is a workhorse, capable of considerable flexibility with regards to how frequencies are boosted or attenuated. Logic’s single band EQ is a competent purpose designed multi-function single band variation for the times when multi-band EQ isn’t necessary. However, what about vintage analog style EQs? Read on to learn about what Logic has to offer.
Creating compelling chord charts is not something limited to the select few Logic gurus blessed with score editor chops. You don’t need to be a notation expert to put together nice looking lead sheets.
One of the endearing and ubiquitous qualities of Rhodes sounds is the ability to use the tremolo knob to pan the sound from side to side. We’ve heard it on a million records and love it. It creates a nice wide moving stereo spatial effect that adds a sheen of polish and sophistication to the sound. For an interesting variation, why not modulate the reverb’s position in the stereo field instead of the source?
Our friends at PureMix produce lots of excellent content for Pro Tools users. In their new Jumpstart series they are giving a little extra love to the Logic Pro X community.
In this exclusive pureMix.net Quickstart Series, Logic Pro X Expert, Scott Griffin, guides you from the first time you open the program through to using powerful features such as flex time and flex pitch.
We had a Logic related question come in recently from listener George Majerus via the pro tools expert podcast. It’s a subject that I’ve seen come up over and over in various forums and discussions. Thank you, George, for asking about time stamps and bouncing in mono. Let’s explore the answers:
I am not a keyboard player. Sure, I play a little. I have a little bit of technique. And I know what notes to play and when to play them. But I don’t have the piano technique to execute my ideas at fast tempos. Enter Logic’s tempo sets as a convenient way to switch between a slower part entry tempo, where I can play in my parts with the timing and feel that I want, and a faster playback tempo, where the parts are played back at full speed.
In the first part of this article, we looked at creating an Articulation ID set for a third party library from scratch. Creating articulations on the Articulations pane, and setting the transformation in the Output Pane of the Articulation Set Editor were the first steps, making this articulation set usable for editing articulations after notes were entered. In this article, I’ll show you how to set up create and customize key switch assignments for real-time articulation switching, how to use score symbols for articulation switching, and how to make your Articulation ID set portable between projects.
In this Expert Tutorial, contributor Chris Vandeviver walks through dicing up and creating your own electronic kits by using Flex Time to quickly break up drum loops, exporting the samples back into the Project Browser, and dragging and dropping the samples right into an Empty kit.
In this post, I’ll walk you through the steps involved in creating a basic set of Articulation IDs for the Chris Hein Ensemble String Library. The same principles apply however to any third-party multi articulation based software instrument.
At first glance, Channel EQ looks like a standard surgical “Frequency - gain - width” based multiple band equalizer. While it does do this and does it very well, it is also capable of a lot more. Take a look at some of these tips to brush up on your Channel EQ chops.
In the first part of this series I looked at how to use Drummer’s Feel knob, found on the Details page of Logic’s Drummer Editor, to establish either an ahead of the beat or behind the beat feel for Logic’s Drummer regions. But what if you want to alter the feel of only specific elements within the drum groove? Although this isn’t doable directly from the Drummer editor, fortunately, it is achieved relatively easily using Drummer’s Convert to MIDI function.
The idea of “push” and “pull” with regards to pop based drum grooves refers to playing slightly ahead or behind the beat, in order to impart a slightly different feel to the music. Discover how the Feel knob on the Details page of Logic’s Drummer is used to control this aspect of the groove.
In this free tutorial, Logic Pro Expert contributor Chris Vandeviver demonstrates the many options available for exporting audio out of Logic Pro X.
I had a guitar player over to record recently. We paired up Amp Designer (getting a relatively clean tone, using a slightly tweaked version of the Large Blackface Clean preset) with Eventide’s UltraTap and MangledVerb, and came up with a really interesting and unusual lead guitar tone.
In this article, Eli Krantzberg puts Universal Audio's Pure Plate reverb to work in Logic Pro X.
In this video, sponsored by Universal Audio, I’ve put the UA Manley VoxBox channel strip to work in two very different musical contexts. One is an already tracked rough, raw vocal recorded in a budget home studio. The other a pristine jazz vocal recorded in a state-of-the-art recording facility.